Volume 32 Number 1 Article 2 10-15-2013 Fairy Elements in British Literary Writings in the Decade Following the Cottingley Fair Photographs Episode Douglas A. Anderson Independent Scholar Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Anderson, Douglas A. (2013) "Fairy Elements in British Literary Writings in the Decade Following the Cottingley Fair Photographs Episode," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 32 : No. 1 , Article 2. Available at: https://dc.swosu.edu/mythlore/vol32/iss1/2 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Scholar Guest of Honor, Mythcon 2013. Explores the effects of the Cottingly fairy fraud on British literary fantasy. Authors discussed include Gerald Bullett, Walter de la Mare, Lord Dunsany, Bea Howe, Kenneth Ingram, Margaret Irwin, Daphne Miller, Hope Mirrlees, and Bernard Sleigh. Anderson also offers some speculations on the effects of the controversy on Tolkien’s early development as a writer. Additional Keywords Bullett, Gerald. Mr. Godly Beside Himself; Cottingly fairy photographs; de la Mare, Walter. Broomsticks; de la Mare, Walter. “The Unbeliever”; Dunsany, Lord. The King of Elfland’s Daughter; Fairies in literature; Howe, Bea. A Fairy Leapt Upon My Knee; Ingram, Kenneth. Midsummer Sanity; Irwin, Margaret. These Mortals; Miller, Daphne. Travels in Fairyland; Mirrlees, Hope. Lud-in-the-Mist; Sleigh, Bernard. The Faery Calendar; Sleigh, Bernard. The Gates of Horn; Sleigh, Bernard. A Guide to the Map of Fairyland This article is available in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: https://dc.swosu.edu/mythlore/vol32/iss1/2 Fairy Elements in British Literary Writings in the Decade Following the Cottingley Fair Photographs Episode Douglas A. Anderson Welcome to Mythcon 44, here in East Lansing, Michigan. Let me start by thanking the Mythopoeic Society and the Council of Stewards for inviting me, and Marion Van Loo and the Mythcon Committee for arranging the details, and Leslie Donovan for working out the programming. I'd also like to welcome Franny Billingsley, our writer Guest of Honor. Our theme for this year's conference is "Green and Growing: The Land and Its Inhabitants." A look at the programming for this conference shows many different ways of approaching this theme, and in particular in approaching the complex relationship between a land (that is, any land), the beings that live in that land, and the beings that potentially live in the minds of the inhabitants of that land. That may sound confusing, but let me explain further. In general, I wish today to speak of that intersection of these varied branches. This area of intersection can be called Faerie or fairyland, as it exists in a kind of boundary world between the land and its inhabitants, and the fairies themselves may be seen as the beings that potentially live in the land, or in the mind of the land's inhabitants. One could explore this area of intersection along lines of its physical landscapes (or how the lie of the land might influence stories of Faerie), or in terms of nationalities and human identities, and how those aspects might be reflected in particular fairylands. To give just two quick examples of the latter, before moving on, I would mention L. Frank Baum's Oz, certainly the best- known American fairyland; and the more modern Mythago Wood novels by Robert Holdstock, in which a certain woods in Britain is found to interact with the people who live near it by generating actual beings, called mythagos, from these people's minds—from their collective unconscious—and these mythagos in turn create new stories. Holdstock's conception is an ingenious storytelling device, calling close attention to the stories themselves and the differences between various versions of the same story, coming from the stock of people who have lived, over many ages, in the land that is now called Britain. Stepping back, one could ask what is it that makes Mythago Wood so British, on the one hand, and what is it that makes Oz so American, on the other? I hope to hear, over the M yth lo re 32.1, Fall/Winter 2013 7 Fairy Elements in British Literary Writings next few days, other presenters, perhaps, elaborate on these topics, and other similar ones. For myself, I'd like to narrow the scope of my own contribution by focusing on one neglected and (to me) interesting corner of this very large field — that is, on a particular time period of the British literary use of fairyland or fairies. The obsession with fairies, and fairyland, in Victorian and Edwardian England is well-known. Examples of this obsession can be seen in the paintings of Richard Dadd and Richard Doyle, in the writings of John Ruskin, Lewis Carroll, George MacDonald, and J.M. Barrie—particularly Barrie's Peter Pan—in the twelve colored fairy books of Andrew Lang, and in the flower fairies of Cicely Barker. The above list is just the tip of the iceberg. (For other examples, see the books by Nicola Bown, Diane Purkiss, and Carole G. Silver listed in my bibliography.) But the period that interests me is not the Victorian or Edwardian heyday of fairies, but the Georgian dying out of literary interest in fairies. The First World War was one nail in the coffin of fairy literature, as was the post-war rise of modernism, which downgraded the literature of romance to the nursery, and nearly exterminated it for decades. Fairies as a literary subject survived into the war, as Robert Graves's 1917 book of poems Fairies and Fusiliers attests, though the fairy poems were not reprinted when Graves collected his verse some years later. A third blow to fairy literature was the episode of the Cottingley fairy photographs, the chronology of which is pertinent here so I shall recap some of the major events. Briefly, in 1917 two young girls in Cottingley, near Bradford in West Yorkshire, took some photographs of themselves in the woods with fairies. Three years later these photographs were discovered and popularized by Arthur Conan Doyle in two illustrated articles in The Strand Magazine, the most popular magazine of the time. The first article, "Fairies Photographed: An Epoch-Making Event," appeared in the issue for December 1920. The second, "The Evidence for Fairies," followed in March 1921. To modern eyes the photographs seem obvious fakes, but many of those who wished to believe in fairies also believed in the photographs. In September 1922, Arthur Conan Doyle published a book, The Coming of the Fairies, defending the photographs. Skeptics noted the irony that Doyle, the creator of the renowned ratiocinative detective Sherlock Holmes, could fall for such fairy bunkum. For a few years, the popular press reported many times on the photographs, and then public interest gradually subsided. It wasn't until the early 1980s that the two girls, then old women, finally admitted the photos were faked, a conclusion that most of the world had reached long before. But the public scrutiny of these photographs seems to have dealt fairies a death blow as a subject for serious literature. Fairies were to be considered imaginary creatures, and only children might believe in them, so fairy tales and their like—including heroic and mythological stories, whether they contained 8 M yth lo re 123, Fall/Winter 2013 Douglas A. A nderson any fairies or not—were suitable only for children, and marketed as such. Yet adult literature about fairies didn't simply die out, nor die over night. There was in the decade immediately following the episode of the Cottingley fairy photographs a small wave of serious fairy literature written for adults. (J.R.R. Tolkien's fairy writings of this period were never finished, but published posthumously decades later.) Today I'd like to discuss a half dozen or so of the most interesting examples that were published during that time. Most are by authors who are pretty much forgotten today, and most of the books quickly passed without much notice, though a few were rediscovered after several decades and are acclaimed as minor classics today. The first of these, published in 1924, is Lord Dunsany's novel, The King of Elfland's Daughter. It tells the tale of the land of Erl, situated near the borders of Elfland. Elfland is feared, yet the wise men of Erl demand of their king a magic lord, so Alveric goes to Elfland and returns with the King of Elfland's daughter to be his bride. They have a son, Orion, before the King's special rune whisks his daughter back to Elfland. Alveric searches for years for his wife, while Orion grows up and takes to hunting unicorns as they stray away from Elfland. When the King sees that his own daughter longs to return to Erl, he uses his most potent rune to enlarge Elfland and extend its boundaries to include Erl.